The Offstage Mic – Details, episodes & analysis

Data is one of the most powerful tools you can use in arts management to increase patron retention. But how do you know which metrics to track? How do you find the time to stay on top of key performance indicators? 

Over several years of experience, from my first job at the Seattle Symphony to becoming an executive director and developing the 'Long Haul Model', I can now identify the main, underlying problem most arts organizations run into when thinking about their data. And I brought in some folks to help me talk about it. 

In this bonus episode, I interview special guests Sune Hjerrild and Jan Pilgaard Carlsen, co-founders of Artelize, a company that eats, sleeps, and breathes using data in the arts. We talk about how to harness your data to retain more patrons, what key metrics are important to monitor to know if your retention efforts are working, and why most CRMs make patron retention challenging, either because extracting the data and reports you need is tricky, or because it just takes too much time — and what to do about it to make it a million times faster.

Tracking and understanding your data doesn’t have to be a pitfall for your organization. Enjoy this special bonus episode to carry you through until the podcast starts again this fall.

Resources:

The Long Haul Model article

Rethinking Audience Engagement Panel Hosted by Artelize

We wrap up season 3 with one of my most requested topics of all time: the topic of how to lead change. If you ever find yourself asking questions like ‘How do I get buy-in from my board?’ or ‘Where do I even begin when it comes to implementing new ways of doing business in my arts organization?’, this episode is for you. 

We talk about what the experts say about fear of change, resistance to change, and other barriers to change; debunk three big myths about change; and share five things that actually work to drive change effectively at your arts organization.

No matter what role you fill within arts management, leading the change is one of the most important skills you can build. This episode unpacks the research every arts manager and leader needs to know.

Yesterday was publication day for my new book, Run It Like A Business: Strategies for Arts Organizations to Increase Audiences, Remain Relevant, and Multiply Money—Without Losing the Art.

To celebrate, we put together something special for you: a live show we recorded just last night at the book launch party here in San Francisco. It’s a conversation with myself and Kelly Harris, Executive Director of Haight Street Art Center.

The book and our conversation is for people and arts organizations who want to:

• Grow audiences and keep them coming back again
• Make our organizations more inclusive
• Get younger attendees in the seats and on the donor rolls
• And generate millions more dollars in revenue, in order to
• Continue to create the art we love—without the stress of figuring out how to afford it

Book details and how to get your copy: https://www.aubreybergauer.com/book

What works and what doesn’t at the bargaining table with unions in arts and culture. Cellist Ted Nelson served as chair of the players committee at the Cincinnati Symphony, and clarinetist Jessica Phillips served as players committee chair at the Metropolitan Opera Orchestra. Both worked toward collaborative and creative agreements, and in this final episode of the season, they share first-hand about their experience.

What needs to happen before negotiations ever begin, how training musicians serving in these important roles is critical, and their thoughts on streaming contracts going forward so together we can make the pie bigger for all of us.

Talent acquisition and the state of the workforce in arts and culture is shifting. More Baby Boomers are nearing retirement, more Gen-Z workers are entering the labor force, the Millennials and Gen-Xers are changing their relationship with work and their thoughts around remote or flexible work options.

National research from Advisory Board for the Arts shows the top driver of employee satisfaction and talent retention in the arts is no longer reputation for artistic excellence, but a strong and healthy company culture.

Karen Freeman, who has a background as a player, as well as degrees from Harvard and MIT, and later at McKinsey as global head of digital & analytics learning for generalist consultants, joins Aubrey to share the findings of this research.

And as mentioned at the top of the episode, if you want some ideas for your summer reading list, here are Aubrey’s book reviews: business books as seen through the lens of an arts manager.

This is the penultimate episode in season two—enjoy!

You no longer need a label to release digital recordings for streaming. Today, any ensemble of any size can take advantage of the way recording and distribution has changed and release directly to streaming platforms.

In this episode, Aubrey is joined by two experts — Mike Warner, Head of Editorial Marketing Partnerships - North America at Believe, and Jamie Freedman, Head of Classical Programming at Pandora — to talk through the play by play (stream by stream?!)

They cover topics including how an ensemble can self-release, how an organization can be empowered to do yourself things a label historically or traditionally would have done and have more control because of it, how the artistic, production, and marketing teams will need to work together, and the nuts and bolts of releasing digital music directly vs going with a distributor.

And if you don't know what all that means or looks like, that's ok too — the whole point of this episode is to learn so you walk away educated and informed. And therefore confident and ready to tackle your next recording project knowing exactly how you'll get maximum ears to listen to it.

Tell the stories of your arts organization and artists with tips and techniques from former Pixar Hollywood producer. Marcia Gwendolyn Jones, the producing force behind blockbuster animated films Monsters Inc, Finding Nemo, and PAW Patrol: The Movie.

Aubrey and Marcia cover what bringing a script to the screen has in common with bringing performances to the stage, expert storytelling tips to apply to your own stories at arts organizations, and the highs and lows of storytelling: what are the best things about storytelling? What’s the biggest challenge?

Pretty much any brand that’s thriving and growing its customer base is good at storytelling, and this episode shares from one of the best storytellers around, so that we can feel empowered to bring our organization’s own stories to life.

The influencer industry is worth billions of dollars and growing because consumers trust people more than brands these days. Arts organizations have a built-in influencer army—our artists—and we can train them on digital content and social media.

In this episode, Aubrey brings in David Taylor, who worked with the Philharmonia in London to do just this. We'll hear the case study of what they did, what worked and what didn't, and some unexpected results they saw.

Get David’s book, The Future of Classical Music - Part 1: A collection of articles, talks, and ideas

Slover Linett research on classical music radio listenership discussed in the opening remarks here.

How to update the organization structure of your arts organizations to be more productive, break down silos, and better do the work.

Hear from Julian Chender, an expert in organization design through his work at Accenture as well as his own company he founded. Together, Aubrey and Julian look at the challenges with the existing structure that's been in place at most arts organizations for the last 40+ years, and how to design the organization for goals that affect everyone going forward.

Links

·     Organization design article Julian and Aubrey co-authored.

·     See Julian’s slides on YouTube.

How to monetize streaming performances for new and alternate revenue streams for your arts organization well beyond the pandemic. In a world where many arts organization have struggled to make money with streaming and digital content, or stopped streaming altogether, here’s one organization still streaming and making lots of money from it—and growing their audience, too.

Learn more about Dallas Black Dance Theatre.

Drew's article for the Wallace Foundation: Can Pandemic Be Catalyst for New Global Arts Ecology?